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Journal articles on the topic 'Jaina architecture'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 March 2023

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1

Jaini, Padmanabh S. "Jaina monks from Mathura: literary evidence for their identification on Kuṣāṇa sculptures." Bulletin of the School of Oriental and African Studies 58, no. 3 (October 1995): 479–94. http://dx.doi.org/10.1017/s0041977x0001291x.

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Among the thousands of Jaina images found throughout India, those from Mathura produced during the Kuṣāṇa period are unique, for they alone contain representations of unclothed Jaina ascetics holding a single small piece of cloth in such a way as to cover their nudity. These curious figures cannot be identified with monks of the present-day Jaina sects of the Digambaras, who practise total nudity, or of the Śvetāmbaras, who wear two long pieces of unstitched white cloth wrapped around their bodies and occasionally a white blanket over their left shoulders. The veteran art-historian, the late Dr. U. P. Shah, in Aspects of Jaina art and architecture briefly mentions these figures, noting that ‘nowhere in the above references from Śvetāmbara as well as Digambara texts do we come across a reference to those figures on the siṃhāsanaof a Jina which we find in a number of sculptures of the Kuṣāṇa period from the Kaṅkāli Tīlā.’ Subsequently, in Jaina-Rūpa-Maṇḍano, he calls these figures ardhaphālakas (monks with partial covering) and speculates that these figures might be Yāpanīya monks, another Jaina sect that is now extinct, and states that these figures need further investigation. In addition to Shah, N. P. Joshi has also discussed these ardhaphālaka images. He states that ‘all the monks seen in the bas-reliefs, except one known to me, seem to belong to the Ardhaphālaka sect. … Besides the monks seen in the bas-reliefs, those hovering in the air (vidyā cāraṇas) or seen on some of the śilāpaṭṭāsare all Ardhaphālakas. This suggests that during the pre-Christian and early Christian centuries a large number of Jainas at Mathura followed this sect’.

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2

Hegewald, Julia A. B. "Aspects of Jaina Temple Architecture in Rajasthan and Gujarat*." South Asia Research 22, no. 2 (September 2002): 107–22. http://dx.doi.org/10.1177/026272800202200201.

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3

Hegewald, Julia A. B. "Multi-shrined Complexes: The Ordering of Space in Jaina Temple Architecture." South Asian Studies 17, no. 1 (January 2001): 77–96. http://dx.doi.org/10.1080/02666030.2001.9628593.

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4

Карлова, Евгения Михайловна. "ON SOME FEATURES OF JAIN ARCHITECTURE." ВОПРОСЫ ВСЕОБЩЕЙ ИСТОРИИ АРХИТЕКТУРЫ, no. 2(13) (June 5, 2020): 200–216. http://dx.doi.org/10.25995/niitiag.2020.13.2.009.

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Основной комплекс джайнских архитектурных памятников лежит в целом в контексте общеиндийской традиции, представляя собой симметрично-осевые храмы с расположенными друг за другом одной или несколькими мандапами и гарбха-грихой. Оформлены они обычно в едином стиле с памятниками соответствующей эпохи и локализации. Некоторые стандартные для индийского храмового строительства элементы в джайнских памятниках акцентируются или приобретают особое значение. В центральной и западной Индии в раннем Средневековье начинает складываться особый тип центричного джайнского храма - чатурмукха, который достигает наивысшего развития в памятниках периода Соланки. Пик его развития совпадает с взлетом джайнской диаспоры в этот период, сопровож давшимся активным строительством. Тогда же высшей точки достигает своеобразный стиль архитектурной декорации, получивший название «стиль Мару-Гурджара» и прочно ассоциирующийся нынче именно с джайнскими памятниками.Храм типа чатурмукха выражает базовые принципы джайнской космологии и как отдельными частями, так и в целом соотносится с описанным в священных текстах сакральным пространством. Одно из важнейших понятий мистической географии джайнизма, самвасарана, воплощается в архитектуре как часть гарбха-грихи, но может выступать и как отдельно стоящее сооружение в рамках храмового комплекса. В дальнейшем тип храма чатурмукха не получил широкого распространения, в отличие от некоторых декоративных элементов стиля Мару-Гурджара. Их формальное повторение в сочетании со стремлением к воплощению на земле сакральной географии - отличительная черта джайнской архитектуры Нового и Новейшего времени. The main complex of Jain architectural monuments lies in the context of the general tradition of Indian temple architecture, representing symmetrico-axial temples with one or several mandapas and a garbha-griha located one behind the other. They are usually decorated in the same style as the monuments of the respective epoch and localization. Some standard elements of Indian temple construction in Jain monuments are emphasized or take on particular significance. A special type of centric Jaina temple, chaturmukha, originated in central and western India in the early Middle Ages. It reached its highest degree of development in the monuments of the Solanki period. The peak of its development coincides with the rise of the Jain diaspora during this period, accompanied by active construction. At the same time, the original style of architectural scenery, called the “Maru-Gurjara style” and strongly associated with Jain monuments, reaches its highest point. The chaturmukha-type temple expresses the basic principles of Jaina cosmology and, both as individual parts, and as a whole, corresponds with the sacred space described in the sacred texts. One of the most important concepts of the mystical geography of Jainism, samvasarana, is embodied in architecture as part of the garbha-grikha, but it can also act as a separate building within the temple complex. In the future, the type of temple chaturmukha would not receive widespread popularity, unlike some decorative elements of the style of Maru-Gurjara. Their formal repetition combined with the desire to incarnate sacred geography on earth is a distinctive feature of the Jain architecture of the New and Modern times.

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5

Meghal, Ar Pranoti Kiran. "Development of Jain Architecture from Caves to Temple Architecture in Maharashtra." International Journal of Engineering Research 7, special2 (2018): 188. http://dx.doi.org/10.5958/2319-6890.2018.00054.5.

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6

Michell, George. "Julia A. B. Hegewald: Jaina Temple Architecture in India: The Development of a Distinct Language in Space and Ritual. (Monographien zur Indischen Archäologie, Kunst und Philologie, Band 19.) 693 pp. Berlin: G+H Verlag, 2009. €128. ISBN 978 3 940939 09 8." Bulletin of the School of Oriental and African Studies 73, no. 1 (January 28, 2010): 117–18. http://dx.doi.org/10.1017/s0041977x09990425.

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7

Klymeniuk, Tatiana, and Ołena Kowalczuk. "Obiekty wypoczynkowe i regeneracyjne według projektów Jana Bagieńskiego." Textus et Studia, no. 1(29) (July 9, 2022): 33–63. http://dx.doi.org/10.15633/tes.08102.

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Jan Bagienski (1883–1967) – architect, professor at the Lviv Polytechnic, an outstanding representative of the Lviv architectural school. His creative heritage is contained in the implemented projects, pedagogical activity, scientific works and professional articles. A significant part of the creative heritage of Jan Bagienski belongs to the buildings intended for rest and regeneration. The article emphasizes that in his designs sanatoriums, hospitals and ambulances, the architect transforms the functional features of an architectural form into means of their artistic expression, and understands the natural, landscape and ethnic features of the region for which they are designed. The compositional layout in the field, the internal layout, functional compliance with the requirements for medical institutions, and the expression of the volumetric and spatial solution were examined.

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8

Bernatowicz, Tadeusz. "Jan Reisner w Akademii św. Łukasza. Artysta a polityka króla Jana III i papieża Innocentego XI." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 159–91. http://dx.doi.org/10.18290/rh20684-10s.

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Jan Reisner (ca. 1655-1713) was a painter and architect. He was sent by King Jan III together with Jerzy Siemiginowski to study art at St. Luke Academy in Rome. He traveled to the Eternal City (where he arrived on February 24, 1678) with Prince Michał Radziwiłł’s retinue. Cardinal Carlo Barberini, who later became the protector of Regni Poloniae, was the guardian and protector of the artist during his studies in 1678-1682. In the architectural competition announced by the Academy in 1681 Reisner was awarded the fi prize in the fi class, and a little later he was accepted as a member of this prestigious university. He was awarded the Order of the Golden Spur (Aureatae Militiae Eques) and the title Aulae Lateranensis Comes, which was equivalent to becoming a nobleman. The architectural award was conferred by the jury of Concorso Academico, composed of the Academy’s principe painter Giuseppe Garzi, its secretary Giuseppe Gezzi, and the architects Gregorio Tommassini and Giovanni B. Menicucci. In the Archivio storico dell’Accademia di San Luca, preserved are three design drawings of a church made by Jan Reisner in pen and watercolor, showing the front elevation, longitudinal section, and a projection. Although they were made for the 1681 competition, they were labelled with the date 1682, when the prizes were already being awarded. Reisner’s design reflected the complicated trends in the architecture of the 1660s and 1670s, especially in the architectural education of St. Luke’s Academy. There, attempts were made to reconcile the classicistic tendencies promoted by the French court with the reference to the forms of mature Roman Baroque. As a result of this attempt to combine the features of the two traditions, an eclectic work was created, as well as other competition projects created by students of the St. Luke’s Academy. The architect designed the Barberini temple-mausoleum, on a circular plan with eight lower chapels opening inwards and a rectangular chancel. The inside of the rotund is divided into three parts: the main body with opening chapels, a tambour, and a dome with sketches of the Fall of Angels. Inside, there is an altar with a pillar-and-column canopy. The architectural origin of the building was determined by ancient buildings: the Pantheon (AD 125) and the Mausoleum of Constance (4th century AD). A modern school based of this model was opened by Andrea Palladio, who designed the Tempietto Barbaro in Maser from 1580. In the near future, the Santa Maria della Assunzione in Ariccia (1662-1664) by Bernini and Notre-Dame-de-l’Assomption (1670-1676) in Paris by Charles Errard could provide inspiration. In particular, the unrealized project of Carlo Fontana to adapt the Colosseum to the place of worship of the Holy Martyrs was undertaken by Clement X in connection with the celebration of the Holy Year in 1675. In the middle of the Flavius amphitheatre, he designed the elevation of a church in the form of an antique-styled rotunda, with a dome on a high tambour and a wreath of chapels encircling it. Equally important was the design of the fountain of the central church in Basque Loyola (Santuario di S. Ignazio a Loyola). In the Baroque realizations of the then Rome we find patterns for the architectural decoration of the Reisnerian church. In the layout and the artwork of the facades we notice the influence of the columnar Baroque facades, so common in different variants in the works of da Cortona, Borromini and Rainaldi. The monumental columnar facades built according to Carlo Rainaldi’s designs were newly completed: S. Andrea della Valle (1656 / 1662-1665 / 1666) and S. Maria in Campitelli (designed in 1658-1662 and executed in 1663-1667), and Borromini San Carlo alle Quatro Fontane (1667-1677). The angels supporting the garlands on the plinths of the tambour attic are modelled on the decoration of two churches of Bernini: S. Maria della Assunzione in Ariccia (1662-1664) and S. Andrea al Quirinale (1658-1670). The repertoire of mature Baroque also includes the window frames of the front facade of the floor in the form of interrupted beams and, with the header made in the form of sections capped with volutes. The design indicates that the chancel was to be laid out on a slightly elongated rectangle with rounded corners and covered with a ceiling with facets, with a cross-section similar to a heavily flattened dome. It is close to the solutions used by Borromini in the Collegio di Propaganda Fide and the Oratorio dei Filippini. The three oval windows decorated with C-shaped arches and with ribs coming out of the volute of the base of the dome, which were among the characteristic motifs of da Cortona, taken over from Michelangelo, are visible. The crowning lantern was given an original shape: a pear-shaped outline with three windows of the same shape, embraced by S-shaped elongated volutes, which belonged to the canonical motifs used behind da Cortona by the crowds of architects of late Baroque eclecticism. Along with learning architecture, which was typical at the Academy, Reisner learned painting and geodesy, thanks to which, after his return to Poland, he gained prestige and importance at the court of Jan III, then with the Płock Voivode Jan Krasiński. His promising architectural talent did gain prominence as an architect in Poland, although – like few students of St. Luke’s Academy – he received all the honors as a student and graduate.

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9

Ashforth, Blake E. "Jana Costas and Christopher Grey: Secrecy at Work: The Hidden Architecture of Organizational Life." Administrative Science Quarterly 61, no. 4 (September 20, 2016): NP44—NP46. http://dx.doi.org/10.1177/0001839216669111.

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10

Qureshi, Tunveer, Anas Mahmud Arif, and Adnan Anwar. "Jain Temples and Tourism: A Case Study of Nagarparkar." Global Social Sciences Review VI, no. II (June 30, 2021): 167–79. http://dx.doi.org/10.31703/gssr.2021(vi-ii).17.

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Nagarparkar is one of the most important potential Abstract tourism destinations in Sindh, abundantly having natural and cultural resources to attract thousands of national and international tourists to satisfy their varying needs. The attraction of the area is Jain temples, denoting thousands of years old history of the area and architectural wonders as well. The current study is an attempt to highlight the potential of religious tourism in the area and how sustainable tourism may be introduced in the region to uplift the local economies using qualitative methodology.

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11

Wagner, David B., and Carl Ponder. "Book Review: The Art of Computer Systems Performance Analysis by Raj Jain." ACM SIGOPS Operating Systems Review 25, no. 3 (May 1991): 7–9. http://dx.doi.org/10.1145/122572.871711.

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12

Tubielewicz-Michalczuk, Malwina. "Areas Adjacent to Jasna Gora and their Architectural and Landscape Value for Contemporary Pilgrimages." IOP Conference Series: Materials Science and Engineering 471 (February 23, 2019): 072003. http://dx.doi.org/10.1088/1757-899x/471/7/072003.

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13

Rani, Archana. "UNIQUE CAVES OF THE JAIN TRADITION: UDAYAGIRI AND KHANDAGIRI." ShodhKosh: Journal of Visual and Performing Arts 1, no. 1 (June 16, 2020): 1–7. http://dx.doi.org/10.29121/shodhkosh.v1.i1.2020.3.

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English: Udayagiri and Khandagiri caves are located near Bhubaneswar in Odisha, Madhya Pradesh. These two caves are located on two hills about two hundred meters in front of each other. His ancient name was Kumaragiri. Here, the Jain monks who came out for nirvana used to come and do penance. Some of the caves here are natural and some are human built. Inscriptions, engraved statues, etc. in the caves indicate that it was the main pilgrimage center of Jainism in ancient times. There are eighteen caves in Udayagiri and fifteen in Khandagiri, with beautiful carvings of architecture including animal-birds, trees-belts, majestic, cosmic scenes and religious sculptures. Hindi: उदयगिरि एवं खण्डगिरि की गुफाएँ मध्यप्रदेश ओड़िशा में भुवनेश्वर के पास स्थित है। ये दोनों गुफाएँ एक दूसरे के सामने लगभग दो सौ मीटर की दूरी पर दो पहाड़ियों पर स्थित हैं। इनका प्राचीन नाम कुमारगिरि था। यहाँ निर्वाण हेतु निकले हुए वनवासी जैन मुनि तपस्या करने एवं रहने आते। यहाँ कुछ गुफाएँ प्राकृतिक हैं तथा कुछ मानवानिर्मित हैं। गुफाओं में शिलालेख, उत्कीर्ण प्रतिमाएँ आदि इस ओर संकेत करती हैं कि प्राचीन काल में यह जैन धर्म की प्रमुख तीर्थस्थली थी। उदयगिरि में अट्ठारह तथा खण्डगिरि में पन्द्रह गुफायें हैं, जिनमें पशु-पक्षी, वृक्ष-बेलें, राजसी, लौकिक दृश्य तथा धार्मिक मूर्तियों सहित वास्तुकला के सुन्दर उत्कीर्णन हैं।

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14

Sanz, Jorge L. C. "In memory of Anil K. Jain." Machine Vision and Applications 2, no. 1 (December 1989): iii. http://dx.doi.org/10.1007/bf01214392.

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15

Flyverbom, Mikkel. "Book Review: Jana Costas and Chris Grey Secrecy at Work: The Hidden Architecture of Organizational Life." Organization Studies 41, no. 10 (October 18, 2019): 1460–63. http://dx.doi.org/10.1177/0170840619882277.

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16

Tselikas, Nikolaos D., Nikolaos L. Dellas, Eleftherios A. Koutsoloukas, Sofia H. Kapellaki, George N. Prezerakos, and Iakovos S. Venieris. "Distributed service provision using open APIs-based middleware: “OSA/Parlay vs. JAIN” performance evaluation study." Journal of Systems and Software 80, no. 5 (May 2007): 765–77. http://dx.doi.org/10.1016/j.jss.2006.06.035.

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17

Finkel, David. "Book review: The Art of Computer Systems Performance Analysis by R. Jain (Wiley-Interscience, 1991)." ACM SIGMETRICS Performance Evaluation Review 18, no. 3 (November 2, 1990): 21–22. http://dx.doi.org/10.1145/122235.1045571.

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18

Tsietsi, Mosiuoa, Alfredo Terzoli, and George Wells. "Using JAIN SLEE as an Interaction and Policy Manager for Enabler-based Services in Next Generation Networks." International Journal of Electronics and Telecommunications 56, no. 2 (June 1, 2010): 117–24. http://dx.doi.org/10.2478/v10177-010-0015-2.

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Using JAIN SLEE as an Interaction and Policy Manager for Enabler-based Services in Next Generation Networks The IP Multimedia Subsystem is a telecommunications framework with a standard architecture for the provision of services. While the services themselves have not been standardised, standards do exist for basic technologies that can be re-used and aggregated in order to construct more complex services. These elements are called service capabilities by the 3GPP and service enablers by the OMA, both of which are reputable standards bodies in this area. In order to provide re-usability, there is a need to manage access to the service capabilities. Also, in order to build complex services, there is a further need to be able to manage and coordinate the interactions that occur between service capabilities. The 3GPP and the OMA have separately defined network entities that are responsible for handling aspects of these requirements, and are known as a service capability interaction manager (SCIM) and a policy enforcer respectively. However, the internal structure of the SCIM and the policy enforcer have not been standardised by the relevant bodies. In addition, as the SCIM and the policy enforcer have been defined through complementary yet separate processes, there is an opportunity to unify efforts from both bodies. This paper builds on work and standards defined by the bodies, and proposes the design of an interaction manager with features borrowed from both the SCIM and the policy enforcer. To help validate the design, we have identified a platform known as JAIN SLEE which we believe conforms to the model proposed, and we discuss how JAIN SLEE can be used to implement our ideas.

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Jain, Alka, and Sanyam Jain. "Technology in Jain Harivansh Purana: With Special Focus on Travelling by Air." Journal of Advance Research in Applied Science (ISSN: 2208-2352) 2, no. 2 (February 28, 2015): 59–64. http://dx.doi.org/10.53555/nnas.v2i2.689.

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Jagdish Chandra Basu proved through his experiments that all the plants and trees are alive and have feelings just like a human being has. He proved that plants react, laugh and also feel sad. This was proved in late ninetees. But Jain Agamas have been the source of this information for last 2500 years.carang utra speas a lot aout anaspati ayi eeva (souls living in te bodies of plants and trees) and their feelings.The details are so live that one gets emotional for these so called non living things.Not only vanaspati (plants) but prithvi (earth), Apkaay (water), tejas (fire) Vayu (air) are also alive as per Jain Canons. Unfortunately modern generations do not believe these facts until and unless they are proved by some scientific approach. Hence plants are considered to be alive after agdis andra asus eperiments , while other four types of Kayik Jeevas are considered to be non living things till now. No one believed the stories of Pushpaka Vimana in te pic Ramayana as people flying in air was not a scene that men of that era could imagine,but today we can see a large number of aeroplanes taking a lot of humans from one place to the other by air. Though inclination of scientists towards Indian Hindu literature is appreciable who are exploring ancient scriptures of Hindus for old technologies and ancient theories with new searches and researches based on the information provided in ancient literature, but Jain literature has not been explored well till now while they have case studies of modern sciences like dream interpretation, medical sciences, colour therapies etc. This study attempts to explore an ancient Jain book arivans urana for case studies of air travel. The authors have listed and interpreted case studies from the book which give us a glimpse of flying technologies used in that era, users of the technolgy Further scope of this study can be to prove all the technological evidences in modern theories and references. Modern interpretation of these theories may bring out the truth that ancient Indian stories are not just myths, they have strong technological roots and evidences in their ancient literature Further Scope of Study can be to analyse the case studies in Harivansh Purana for other sciences and technologies also.The authors have focused on flying technology in Harivansh Purana but the fact is that the book is dotted with case studies of many other sciences and technologies like dream interpretation, medical science, architectural sciences, numerology etc. too. A list of armours used in the battles can also be listed. A list of sciences and technologies available in that era has also been given in the book like Pragyapti and maya etc. Experts of various fields should come forward to explore Jaina treasure of sciences for the modern world--------------------------------------------------------------------------------------------------------------------*Lecturer cum Placement Officer, Subodh Institute of Management & Career Studies, Jaipur **Lead Engineer, Samsung Research Institute, Bangalore

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HINOJOSA, Karen, and Carlos ESTUARDO APARICIO MORENO. "Manjkajoča javna domena v javnem prostoru: spolno opredeljen zgodovinski pogled na primer iz Latinske Amerike." Urbani izziv 24, no. 2 (2016): 65–75. http://dx.doi.org/10.5379/urbani-izziv-2016-27-02-006.

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21

Dragońska, Urszula. "„Pejzaż górski nie odpowiadał mi malarsko”, Zakopiański epizod graficzny Jana Skotnickiego." Artifex Novus, no. 5 (December 13, 2021): 118–35. http://dx.doi.org/10.21697/an.9374.

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Abstrakt: W artykule omówiona została graficzna twórczość młodopolskiego malarza Jana Skotnickiego, przypadająca na lata 1909–1914. W 1908 r. artysta wraz z żoną Teodorą z Trenklerów wyjechali z Krakowa do Zakopanego. Pobyt artysty zbiegł się w czasie z intensywnym rozwojem kulturalnym kurortu. W miejscowe inicjatywy Skotnicki angażował się osobiście, przy finansowym wsparciu swego teścia, łódzkiego przemysłowca i kolekcjonera, Henryka Grohmana. Jednocześnie tutejszy krajobraz i popularna w owym czasie góralska sztuka ludowa, zupełnie artysty nie inspirowały, przez co niemal zarzucił malarstwo, a zainteresował się grafiką i kilimiarstwem. Polem nowych zainteresowań stała się otwarta staraniem Grohmana eksperymentalna pracownia wyposażona m.in. w prasy drukarskie. W kolejnych latach Skotnicki prezentował swoje ryciny na licznych wystawach, także tych towarzyszących organizowanym konkursom graficznym (1911, 1914), a po wyjeździe do Warszawy (1912) przyłączył się do Towarzystwa Przyjaciół Sztuk Graficznych. Skotnicki uprawiał techniki metalowe, bardzo szybko osiągając w nich wysoki poziom zauważony przez krytyków. Łączył akwafortę, akwatintę, suchą igłę i ruletkę, eksperymentował z drukiem barwnym i kolorował odbitki, mocno indywidualizował prace podczas ich odbijania, stosując tintę. Jego dorobek graficzny oszacowany zastał na ponad 50 kompozycji, przy czym w kolekcjach publicznych znajduje się ich obecnie przynajmniej 36. Są to pejzaże, widoki miasteczek i architektury, akty, studia postaci i zwierząt, w wielu przypadkach wzorowane na własnych szkicach i obrazach. Tematycznie i kompozycyjnie wykazują one wiele podobieństw do prac twórców młodopolskich, zarówno z grona profesorów (J. Stanisławski), jak i rówieśników podejmujących próby graficzne (W. Skoczylas). W sposobie budowania kompozycji, kadrowania, asymetrii i fragmentaryczności przedstawień widoczne są wpływy sztuki japońskiej, stanowiącej ważne źródło inspiracji za sprawą kolekcji i działalności Feliksa „Mangghi” Jasieńskiego. Znacząca była również kolekcja Grohmana, za pośrednictwem której Skotnicki mógł poznać twórczość XIX-wiecznych odnowicieli sztuk graficznych, jak i artystów kolejnych pokoleń (J.M. Whistler, F. Rops, E. Carrière), co znalazło odbicie w jego rycinach. Nieco zapomniana działalność Skotnickiego wpisuje się w ogólniejszą tendencję: zainteresowania młodopolskich artystów sztukami graficznymi i zaangażowania na rzecz ich popularyzacji na przełomie XIX i XX w. Jest przykładem poszukiwania własnego języka wypowiedzi w nowym medium, samodzielnie podejmowanego eksperymentu. Choć Skotnicki nie był pionierem sztuk graficznych na ziemiach polskich, to z pewnością stał się ich propagatorem. Summary: The article discusses the graphic output of Jan Skotnicki, a painter of Young Poland, which he created in the years 1909–1914. In 1908, the artist and his wife, Teodora née Trenkler, left Cracow for Zakopane. The artist’s stay there coincided with the intensive cultural development of the resort. Skotnicki was personally involved in local initiatives, with the financial support of his father-in-law, an industrialist and art collector from Łódź, Henryk Grohman. However, the local landscape and the highland folk art popular at that time did not suit him at all. As a result, he nearly gave up painting and became interested in prints and kilims. An experimental studio, opened thanks to Grohman’s efforts, became Skotnicki’s new field of interests. It was equipped with, among other things, printing presses. In the following years, Skotnicki presented his prints at numerous exhibitions, including those accompanying print competitions (in 1911 and 1914), and after moving to Warsaw (in 1912), he joined the Society of Friends of Graphic Arts. Skotnicki used metal techniques and quickly achieved a master level, which was noticed by critics. He combined etching, aquatints, drypoints and roulette, experimented with colour printing and coloured prints. He strongly individualised his works while creating prints by using tint. His graphic output was estimated at more than 50 compositions, with at least 36 currently in public collections. They include landscapes, views of towns and architecture, nudes, studies of figures and animals, which in many cases were modelled on his own sketches and paintings. In terms of themes and composition, they show many similarities to the works of Young Poland artists from the group of professors (J. Stanisławski) as well as peers undertaking graphic attempts (W. Skoczylas). The way of building the composition, framing, asymmetry and fragmentation of the representations reveal the influence of Japanese art, which was an important source of inspiration thanks to the collection and activity of Feliks "Manggha" Jasieński. Grohman’s collection was also significant, as Skotnicki could learn from it about the works of 19th-century restorers of graphic arts, as well as about the artists of subsequent generations (J. M. Whistler, F. Rops, E. Carrière), which was reflected in his prints. The somewhat forgotten activity of Skotnicki was part of a more general trend: the interest of Young Poland artists in graphic arts and their involvement in their popularisation at the turn of the 19th and 20th centuries. His output is an example of searching for one’s own language of expression in a new medium, and an experiment he performed independently. Although Skotnicki was not a pioneer of graphic arts in Poland, he certainly became their promoter.

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Gryglewski, Piotr. "Wpływ fundacji papieskich na polską architekturę początku XVI wieku. Watykański kontekst mauzoleum prymasa Jana Łaskiego." Roczniki Humanistyczne 68, no. 4 Zeszyt specjalny (2020): 109–38. http://dx.doi.org/10.18290/rh20684-8s.

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The analysis is devoted to the St. Stanislaus chapel erected near Gniezno Cathedral on the initiative of Primate Jan Łaski between 1518 and 1523 (pulled down in the late 18th century). Foundation of this central, free-standing mausoleum plays an important role in the history of the beginnings of Renaissance art in Poland. Its realisation took place simultaneously with construction of the chapel: the mausoleum of King Sigismund I the Old at Wawel. Archbishop Jan Łaski was involved in bringing to Poland Bartolommeo Berrecci, a designer of the royal chapel, who perhaps also participated in preparing the Gniezno design. Undoubtedly, the Łaski foundation was influenced by his stay in Rome in 1513-1515, when the Archbishop was permitted to take some soil from the Roman necropolis of Campo Samo and use it to sanctify the cemetery at Gniezno Cathedral. The concept of the mausoleum was also connected with the tombstones ordered in Hungary in Giovanni Fiorentino studio. On the basis of the preserved line of foundations, we can distinguish a number of important features of the building. It had a central layout. The core part took the form of a cylinder, most probably vaulted by the dome. Three semi-circular apses formed a elear triconch. From the south there was an entrance to the chapel. No less important was location of the mausoleum, situated between the cathedral and St George’s a collegiate church. On the same axis was the original location of the tomb of St. Adalbert. The solutions applied in Gniezno may have had their sources in a Roman art centre. They were used in a sedes of projects and concepts appearing around the Julius II foundation, renovation of St. Peter’s Basilica and the concept of the papai mausoleum. They were related to the work of Donato Bramante and Giuliano da Sangallo. The Vatican architectural designs were formulated in the context of unique historical signifi of St. Peter’s burial place. A similar, ancient context appeared in Gniezno, a place associated with the beginnings of Christianity in Poland.

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Karkowska, Marta. "Pamięć kulturowa a zmiany w krajobrazie miasta. Analiza obchodów rocznicowych lokacji Olsztyna w świetle koncepcji Aleidy i Jana Assmannów." Kultura i Społeczeństwo 54, no. 4 (December 22, 2010): 77–98. http://dx.doi.org/10.35757/kis.2010.54.4.5.

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The author begins her article with a presentation of selected tenets of the concept of cultural memory proposed by Jan and Aleida Assmann, and with reviewing analytical categories used within the framework of this theory, including the following terms: cultural memory, memory figures, memory media, a palimpsest. These concepts form a theoretical and methodological basis for the upcoming analyses. The analyses contained in the article focus around the issues of change and continuity in the cultural memory of the inhabitants of Olsztyn, as exemplified by the transformations of Olsztyn’s cityscape. The author considers two specific moments in the city’s history: 2003, which marked the 650-anniversary of the city’s settlement, and 1953, which marked the 600-anniversary of the same event. Both these anniversaries were naturally celebrated in totally diverse political and ideological contexts. The article focuses not only on the transformations of cityscape, connected to the building of new monuments, plaques, and symbols, and to the renovation of selected buildings, but also on different ways of interpreting cityscape and architectural elements of which it consists in different periods. The conclusions from the analysis form a basis for pointing out several recommendations and limitations for using the Assmanns’ concepts for researching local collective memory in Poland.

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Bhattacharya, Shantanu. "Review of "Enterprise Service-Oriented Architectures: Concepts, Challenges, Recommendations by James McGovern, Oliver Sims, Ashish Jain, and Mark Little," Springer-Verlag, 2006, $59.95, ISBN: 140203704X." Queue 5, no. 5 (July 2007): 46. http://dx.doi.org/10.1145/1281881.1281895.

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Kaufman, Joseph S. "The art of computer systems performance analysis, by R. Jain, John Wiley & Sons. New York, 1991, 685 pp." Networks 24, no. 2 (March 1994): 127. http://dx.doi.org/10.1002/net.3230240216.

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Ferres, Kay. "John Macarthur , Deborah van der Plaat , Janina Gosseye and Andrew Wilson (eds.), Hot Modernism: Queensland Architecture 1945–1975, London: Artifice, 2015, ISBN 9 7819 0896 7589, 224 pp., £24.95." Queensland Review 23, no. 2 (December 2016): 270–71. http://dx.doi.org/10.1017/qre.2016.34.

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Tadgell, Christopher. "Review: The Art of Ancient India: Buddhist, Hindu, Jain by Susan L. Huntington, John C. Huntington; The Art and Architecture of the Indian Subcontinent by James C. Harle." Journal of the Society of Architectural Historians 48, no. 2 (June 1, 1989): 206–9. http://dx.doi.org/10.2307/990375.

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Marsh, George E. "Book Review Hospital Interior Architecture: Creating Healing Environments for Special Patient Populations By Jain Malkin. 478 pp., illustrated. New York, Van Nostrand Reinhold, 1992. $124.95. 0-442-31897-9." New England Journal of Medicine 328, no. 12 (March 25, 1993): 894–95. http://dx.doi.org/10.1056/nejm199303253281224.

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Al-Jaar, Robert Y. "Book review: The Art of Computer Systems Performance Analysis: Techniques for Experimental Design, Measurement, Simulation, and Modeling by Raj Jain (John Wiley & Sons 1991)." ACM SIGMETRICS Performance Evaluation Review 19, no. 2 (September 1991): 5–11. http://dx.doi.org/10.1145/122564.1045495.

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Greenhalgh, James. "Janina Gosseye and Tom Avermaete (eds), Shopping Towns Europe: Commercial Collectivity and the Architecture of the Shopping Centre; Bloomsbury (London, 2017), 256 pp. incl. 83 b&w ills, ISBN: 9781474267373; £94.99." Architectural History 60 (2017): 365–66. http://dx.doi.org/10.1017/arh.2017.24.

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Leduc, Sophia, Maxim De Schepper, Peter Vermeulen, Giuseppe Floris, Elia Biganzoli, Vincent Donckier, Ali Bohlok, et al. "Abstract P6-14-06: Histopathological and immune characterization of liver metastases from patients with breast cancer." Cancer Research 83, no. 5_Supplement (March 1, 2023): P6–14–06—P6–14–06. http://dx.doi.org/10.1158/1538-7445.sabcs22-p6-14-06.

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Abstract Background: Liver metastases (LM) are ultimately present in ~50% of all patients with metastatic breast cancer (BC). Metastatic seeding to the liver relies on the interaction between cancer cells and the host microenvironment, resulting into two main histopathological growth patterns (HGPs): the replacement HGP (metastasis mimics the liver architecture and exploits liver vasculature) and the desmoplastic HGP (presence of a fibrotic rim separating the hepatocytes from the tumor cells). While the prognostic value of these HGPs is established for colorectal cancer, with the desmoplastic HGP being associated with better prognosis, investigation is needed for BC. It has also been reported that patients with LM have a poorer response to immune checkpoints inhibitors. A systematic evaluation of the HGP and LM-associated immune infiltrates (stromal tumor infiltrating lymphocytes, sTIL) is currently lacking. In this study, we aimed at: (i) investigating HGPs and sTIL in LM from patients with BC, and, (ii) evaluating the association of these HGPs and sTIL with standard variables and outcome. Patients and methods: The study currently includes clinical data and samples from: 1) a retrospective cohort of 122 patients from 7 hospitals with surgically resected LMs (represented by 548 hematoxylin and eosin (H&E)-sections), further referred to as ‘surgical cohort’ and, 2) LMs from 2 institutional post-mortem tissue donation studies for a total of 23 patients (97 H&E-sections). All available H&E-sections were used to assess HGP and sTIL. HGPs were scored according to a standardized method (PMIDs: 35650276) and categorized per patient as pure-replacement (rHGP, i.e. 100% of the tumor-liver interface is replacement) or any-desmoplastic (dHGP, i.e. at least 1% of the tumor-liver interface is desmoplastic). sTIL are expressed as the percentage of stromal area covered by mononuclear immune cells at the metastasis-liver interface. Associations were assessed using Fisher exact and Wilcoxon tests. Univariable and multivariable Cox regression analyses stratified by center were used to evaluate the role of HGP on progression-free (PFS) and overall survival (OS). Results: In the surgical cohort, 54 (44%) of patients displayed a rHGP and 68 (56%) a dHGP. Intra-patient, meaning inter-slide, heterogeneity of the HGP was observed in 24/122 (20%) of the patients suggesting that scoring multiple slides is needed for accurate assessment of the HGPs. We did not find any statistically significant association between HGP and clinico-pathological data. Higher sTIL were associated with dHGP (p=.003), as well as with a higher histological grade (p= .087), estrogen receptor-positivity (p=0.062) and ductal histology (p= .08) of the primary tumor. rHGP was associated with worse PFS and OS, both at the univariable and multivariable level (Table). In the post-mortem cohort, we observed a higher frequency of rHGP patients (19/23 patients, 83 %) and significantly lower levels of sTIL in the rHGP patients as compared to the rHGP patients from the surgical cohort (p= .009). Conclusion: This study represents the largest study evaluating HGPs and immune infiltrates of LMs from patients with BC. Approximately half of the surgically resected LMs have a dHGP, which is associated with higher sTIL and a better prognosis. The results from the LMs from the post-mortem cohort suggest that a more advanced stage of the disease is associated with an increase in rHGP and with a more immunosuppressed environment. Table 1: Univariable and multivariable analyses Citation Format: Sophia Leduc, Maxim De Schepper, Peter Vermeulen, Giuseppe Floris, Elia Biganzoli, Vincent Donckier, Ali Bohlok, Marco Gerling, François Richard, Marion Maetens, Joris Jaekers, Baki Topal, Emily Latacz, Karen Van Baelen, Tatjana Geukens, Ha Linh Nguyen, Luc Dirix, Denis Larsimont, Sophie Van Kerckhove, Rui Caetano Oliveira, Janina Kulka, Valerio Lucidi, Yannick Meyer, Cornelis Verhoef, Eva Santos, Ferenc Salamon, Lilla Madaras, A. Marcell Szasz, Székely Borbála, Kristòf Dede, Jennie Engstrand, Carlos Fernandez Moro, Christine Desmedt. Histopathological and immune characterization of liver metastases from patients with breast cancer [abstract]. In: Proceedings of the 2022 San Antonio Breast Cancer Symposium; 2022 Dec 6-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2023;83(5 Suppl):Abstract nr P6-14-06.

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Santhiago, Ricardo. "A história oral e seus lugares." Revista Brasileira de Estudos Urbanos e Regionais, July 18, 2020. http://dx.doi.org/10.22296/2317-1529.rbeur.202021.

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"First person – Jana Jentzsch." Journal of Cell Science 133, no. 18 (September 15, 2020): jcs253948. http://dx.doi.org/10.1242/jcs.253948.

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ABSTRACTFirst Person is a series of interviews with the first authors of a selection of papers published in Journal of Cell Science, helping early-career researchers promote themselves alongside their papers. Jana Jentzsch is first author on ‘Microtubule polyglutamylation is important for regulating cytoskeletal architecture and motility in Trypanosoma brucei ’, published in JCS. Jana is a PhD student in the lab of Professor Klaus Ersfeld at the Department of Biology, University of Bayreuth, Germany, investigating the molecular mechanisms underlying diseases.

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Carissa, Carissa, Anastasia Maurina, Budianastas Prastyatama, and Mia Wimala. "Comparative Suitability of RISHA’s Modular Structure for the Spatial Dimension of Human Activities (Case Study: The Living Bandung Korean Project Building, Indonesia)." Journal of Advanced Industrial Technology and Application 02, no. 02 (December 15, 2021). http://dx.doi.org/10.30880/jaita.2021.02.02.007.

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Rumah Instan Sederhana Sehat (RISHA or the Simple Healthy Instant House) is a prefabricated, modular, and knock-down system for simple housing, developed by the Research Institute for Human Settlements, Ministry of Public Works and Housing in 2004. The current modular grid and its component sizes, which were initially developed based on the type of 36 m2 simple house, produce a space following the required function. The Living Bandung Korean Project (LBKP) building, selected as the case study of RISHA application on a non-residential building in this research, was programmed with multiple functions on its two stories. The study aims to gauge the suitability of RISHA components against each function in LBKP. Started with a literature study, this research focuses on comparing the referenced standard architectural spatial dimension for human activities and functions to that programmed into the LBKP building. The result shows that of the eight analyzed functions, almost all the spatial dimensions using RISHA components do not meet the standard. The RISHA components are too long for functions requiring smaller spaces, such as pantry and toilet, yet too short for ones requiring larger spaces, e.g., workshops, office, musala, minimarket, café, and guest rooms. This result is expected to inform the future development of RISHA’s alternative component sizes to fulfill the space functions.

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"Studio Mumbai Architects ( Bijoy and Prija Jain)." Architectural Design 77, no. 6 (2007): 36–41. http://dx.doi.org/10.1002/ad.554.

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Astorga-Perez, Angelica, Karol Ulate-Naranjo, and Lilliana Abarca-Guerrero. "Presencia de microplásticos en especies marinas del Parque Nacional Marino las Baulas." Revista Tecnología en Marcha, March 30, 2022. http://dx.doi.org/10.18845/tm.v35i2.5466.

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La ingesta de microplásticos (MPs) en diversas especies marinas ha sido reportada en la literatura, sin embargo, el grado de contaminación en los sistemas y la biota asociada a estos es poco conocido. En este estudio se presentan los resultados de la presencia de microplásticos en siete especies de peces pelágicos y de una especie de crustáceo bentónico, todos de alto nivel trófico del Parque Nacional Marino Las Baulas. Mediante digestión química e inspección visual se extrajeron microplásticos del sistema digestivo de 56 individuos. Un total de 90 piezas fueron extraídas del 89% de los peces (93% fibras) con 3,75±1,70 (SD) microplástico/pez. Se determinó una cantidad significativamente menor en los crustáceos con un total de 58 piezas extraídas del 76% de los individuos analizados con 2,64±1,36 (CF) microplástico/jaiba. Se realiza una búsqueda de microplásticos en tejidos musculares mediante la técnica de histología y se encontraron lesiones en el tejido muscular de los peces, pero los resultados no fueron atribuibles a MP, por ende, no se ahondará en estos datos. Este artículo reporta la presencia de estos contaminantes en especies marinas de alto nivel trófico en la costa del Pacífico de Costa Rica, lo cual confirma la afectación por plásticos en la zona de estudio, reforzándose la necesidad de una gestión adecuada de los residuos sólidos generados por la población, tanto en la zona terrestre como en la zona marítima.

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Jadhav, K. T., S. S. Mane, P. G. Chavan, and V. S. Gavande. "Effect of Herbicide Combinations on Growth and Yield of Kharif Maize (Zea mays L.)." International Journal of Plant & Soil Science, December 5, 2022, 1617–23. http://dx.doi.org/10.9734/ijpss/2022/v34i232583.

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The present investigation entitled “Effect of Herbicide Combinations on Growth and Yield of Kharif Maize (Zea mays L.)” was carried out during kharif 2019 at College Farm, College of Agriculture, Badnapur, Dist.-Jalna. Vasantrao Naik Marathwada Krishi Vidyapeeth, Parbhani, Maharashtra (India). Randomized Block design was used for study comprised of ten treatments. Among treatments, weed free treatment attributed more number of leaves, maximum plant height, dry matter production and leaf area per plant followed by treatment of topramezone 33.6 % SC @ 25.2 g a.i.ha-1 + atrazine 50 % WP @ 250 g a.i. ha-1. Poor growth attributes were recorded in weedy check. Significantly maximum values of yield attributes were recorded in treatment of topramezone 33.6 % SC @ 25.2 g a.i.ha-1 + atrazine 50 % WP@ 250(g)a.i.ha-1 followed by treatment of tembotrione 42 % SC @ 105 g a.i. ha-1+ atrazine 50% WP @ 250 g a,i. ha-1. Minimum values of yield attributes were attributed in weedy check. Treatment of topramezone + atrazine @ 25.2 + 250 g a.i ha-1 as PoE (T6) found effective in limiting weed growth and recorded lower weed index, weed dry matter with higher weed control efficiency followed by tembotrione +atrazine @105 + 250 (g) a.i.ha-1as PoE (T7) at all growth stages of crop. The benefit cost ratio was highest (2.94) with application of topramezone + atrazine @25.2 + 250 g a.i ha-1 followed by tembotrione + atrazine @ 105 + 250 g a.i. ha-1 as PoE (2.81) whereas weedy check recorded significantly lower B:C ratio(1.50) over other treatments.

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Priya, N. Dharani, S. Raguraman, K. Bhuvaneswari, A. Lakshmanan, and K. Chandra Kumar. "Lethal Effects of Red Macroalgal Extracts against Tobacco Cutworm, Spodoptera litura Fabricius." International Journal of Plant & Soil Science, May 6, 2022, 101–9. http://dx.doi.org/10.9734/ijpss/2022/v34i1831061.

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Aims: The purpose of the present paper was to study the toxicity of aqueous and methanol Red macro algal extracts against the cosmopolitan pest, Tobacco cutworm: Spodoptera litura Fabricius. Place and Duration of Study: Department of Agricultural Entomology, Tamil Nadu Agricultural University, Coimbatore, Tamil Nadu. Methodology: The bioassay was carried by treating aqueous and methanol extracts of three different Red macroalgae at 0.7, 1.00, 3.00, 5.00, 7.00 and 10.00 per cent concentration with three replications of ten larvae per treatment and the mortality data was recorded every 24 hours up to adult emergence. Results: The aqueous and methanol extracts of three different Red macroalgae viz., Acanthophora spicifera, Gracilaria corticata and Jania rubens were used to find out their lethal effects against tobacco cutworm, Spodoptera litura under laboratory condition. The larval mortalities were observed for both extracts. Percentages of mortalities, after 96 hours of exposure, increased at the highest concentration of 10 per cent of A. spicifera, G. corticata and J. rubens, extracts. Respectively, 60.00, 46.66 and 26.66 per cent of larvae mortalities were observed in aqueous extracts and 40.00, 26.66 and 23.33 per cent of lethality were recorded in methanol extracts. The pre-pupal and pupal mortalities were recorded in all the concentrations showing malformations during the growth. The pupation and the adult emergence were also affected with the highest inhibition by the extracts of A. spicifera. Conclusion: The Red macroalgae possess an insecticidal and growth inhibitory potential which can be exploited for eco-friendly management of Spodoptera litura. Further studies should be carried out to purify the active biomolecules of the tested extracts and to evaluate the effect of Red macroalgae on other lepidopteran larvae.

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